اسکار 2009 (جلوهای ویژه)
نمایش نتایج: از شماره 1 تا 3 , از مجموع 3

موضوع: اسکار 2009 (جلوهای ویژه)

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    Thumbs up اسکار 2009 (جلوهای ویژه)

    VFX Oscar Bakeoff 2009: The Dance of the Superheroes



    نامزدهای اسکار بهترین جلوه های ویژه سال 2009:
    - Australia
    - The Curious Case of Benjamin Button
    - The Dark Knight
    - Hellboy II: The Golden Army
    - Iron Man
    - Journey to the Center of the Earth
    - The Mummy: Tomb of the Dragon Emperor





    But the evening was all about whittling this list of seven down to three films that will be the official nominees for the 81st annual Academy Awards, which will be held Feb. 22 at the Kodak Theater.

    For many, the event began with the annual reception held a few short blocks away at Kate Mantilini, where visual effects artists and execs, publicists and journos and many former vfx Oscar winners congregate for drinks, a buffet meal and a chance to socialize with their colleagues.

    The socializing continued as people made their way to the Academy's spacious Samuel Goldwyn Theater, which filled to capacity as the 7:30 p.m. start time neared.

    Introducing the event was Bill Taylor, the governor of the visual effects branch, who welcomed the "visual effects desperadoes" and explained the rules: The nominees for each film had five minutes to introduce their clips of finished footage from the film, which ran 15 minutes, and then had three minutes afterward to answer questions from branch members. A red light was to come on to indicate time's up -- and while it failed to activate on Taylor's cue, it worked fine during the main event. At the end of the presentations, Taylor continued, vfx branch members had 15 minutes to vote for their top three choices and drop their ballots off in the bins monitored by officers from the official Oscars accounting and tabulation firm of PriceWaterhouseCoopers. Taylor said the steering committee that had helped determine which films advanced to the bakeoff was the largest they had ever had, with 43 members.


    Hellboy II was the largest character animation project ever undertaken by Double Negative. © Universal.

    The presentation order was determined by lot with overall visual effects supervisors presenting the reels. Up first was Hellboy II: The Golden Army, and Michael J. Wassel introduced the clip, running through the major sequences in the Guillermo del Toro film and explaining the use of six digital doubles and 24 CG characters, and the techniques used to create them. One sequence, in which a fertility goddess crashes through a wall, used motion control, prompting Wassel to joke: "Guillermo told me if I mentioned motion control, I'd be killed." The clip featured such major sequences as the Troll Market, the battle with the giant plant creature at the Brooklyn Bridge and the final battle with the mechanical Golden Army. Questions afterward concerned the methods used for the plant creature as he pulled his roots out of a building crumbling to the ground that was created with both miniature and CG effects, and referenced a clip on YouTube of a roadside bomb in Iraq.



    Journey to the Center of the Earth offers a plethora of stereoscopic vfx. Courtesy of Frantic Films. © MMVII New Line Prods. Inc. and Walden Media LLC.


    Christopher Townsend then came on stage to introduce Journey to the Center of the Earth. The film, the first 3-D feature to be in the running for a vfx Oscar, posed special technical problems that required extremely high levels of precision to work. "Every choice about the placement of every pixel becomes exponentially harder," in 3-D, he says.

    The film was shot with dual HD cameras to create true stereoscopic 3-D, requiring the creation of a dual-screen workflow that had to be built from the ground up and handle VFX tasks twice -- once for each eye -- on every frame. The clip itself was presented in Dolby Digital 3-D, with the audience members donning 3-D glasses to watch sequences from the film, which stars Brendan Fraser and was directed by Eric Brevig. Brief mention was made of the difficulty in getting the footage ready to show in the Academy theater, with a server problem during the day forcing some frantic preparations to ensure it all worked correctly.



    A challenge to the Digital Domain team on The Mummy: Tomb of the Dragon Emperor was to figure out the look and feel of the terracotta warriors. Courtesy of Digital Domain. © Universal Studios.


    Fraser also starred in the next film presented, The Mummy: Tomb of the Dragon Emperor. Joel Hynek said director Rob Cohen put a high priority on the need for interaction between the digital armies of terracotta warriors, desiccated mummies and the actors. A lot of work was done on location with this film, with rotoscoping used to separate the actors from the background and achieving what Hynek called a more naturalistic effect than greenscreen mattes provide.

    The clip of battling armies prompted questions about their creation, which was done mostly with Massive supplemented by choreographed movements that were dropped in to ensure correct actions. Another question inquired about an avalanche sequence that the nominees revealed was completely synthetic.



    For such intricate tracking on Benjamin Button, Digital Domain made sure it could synchronize and time-code every frame. Courtesy of Digital Domain. © 2008 Paramount Pictures and Warner Bros.

    Eric Barba of Digital Domain introduced the work on The Curious Case of Benjamin Button, for which a fully-rendered CG head based on the performance of Brad Pitt was created for the sequences in which he appears as a wizened old man early in the film. He drew attention to one such scene in which Pitt's character gets a haircut -- the first on-screen CG haircut," Barba says. Later sequences, when Pitt gets younger, involved a process jokingly called "youthening" and created by Lola FX, which worked with plastic surgeons to ensure an accurate look.

    The reel, as with most presented, was like a condensed version of the film, showing off the visual effects highlights while still conveying a sense of the story. The reel drew questions quickly from the audience, whose queries revealed that seven animators worked on the facial animation system, details of the gimbals used on the ship sequence and revealed a digital face and hands in a scene in which floodwaters destroy the backward-running clock.



    The Dark Knight's Gotham City environments and most of the action sequences were assigned to Double Negative, which created more than half of the 700 vfx shots. ™ & © DC Comics. Courtesy of Warner Bros.


    Up next was the most financially successful film of the year, The Dark Knight. A brief bit of confusion on Taylor's part as he mistakenly passed over the film and called up the crew for Iron Man, Nick Davis to joke in his British clip after Taylor was corrected: "That would have been a long flight for nothing." Davis spoke to the challenges of working on a film where the main action sequences were being shot in an IMAX-native format, requiring the vfx work to produce work that met its extremely high resolution.

    That required the creation of special pipelines, especially given that there was no way to view the results in the end resolution without filming it out -- a two-week process that required footage to be sent from the U.K.-based vfx house to the U.S. for processing. There was a combination of practical and digital effects in a number of sequences, including the Batpod chase and the explosion of the hospital. The clip spotlighted most of the major action sequences from the film, which became the second-highest grossing film ever with $531 million (thus far) at the domestic box office. Warner Bros. is reissuing the film in theaters on Friday.



    Iron Man, getting the beautiful profile of a superhero and having a suit that could be worn and perform accordingly was tricky. Courtesy of ILM. © 2008 MVLFFLLC. ™ & © 2008 Marvel Ent. All rights reserved.


    Rival superhero pic Iron Man was up next, introduced by John Nelson, who says the two main challenges were to make the world of Tony Stark (Robert Downey Jr.) and the Iron Man suit as convincing as possible. He also was motivated by director Jon Favreau's dislike of obvious CG to create a look for the film that was as detailed and photorealistic as possible. He drew attention to several sequences in the reel, such as the Jericho missile strike, which began with digital effects and finished with a practical effect that he says was just the right mix, as well as a scene in which Gwyneth Paltrow's character reaches into Stark's normally-breathing chest -- achieved again with a mix of practical and CG techniques. The clip featured several sequences of Stark's machinery assembling the armor around him, which, it was revealed, were created after in post production by ILM using plates shot for other sequences.



    Dust was added to the stampede sequence in Australia using both 2D and 3D elements, the latter generated in Houdini. Courtesy of Framestore. ™ & © 2008 Twentieth Century Fox.


    The final presentation of the evening was for Australia. Introduced by Chris Godfrey, he described director Baz Luhrmann's approach to the film as a mix of "Lucas and Lean" -- using the digital techniques of a George Lucas to create an epic in the style of David Lean. As such, about a third of the shots in the film have visual effects. Major challenges included the creation of a digital version of the town of Darwin, complete with 1930s and 1940s-era ships docked in the harbor and their subsequent destruction by Japanese bombers.

    Many of the animals seen in the film -- especially the cattle in a major stampede sequence -- were digital. Another sequence in the film showing a herd of jumping kangaroos and a fly being tied for a fishing lure also were all created digitally. The clip focused heavily on the city sequences and the stampede. Questions afterward inquired about the use of miniatures, which the nominees said were not used on the film because -- they joked -- they require too much planning for the way Luhrmann likes to make movies.

    As the red light came on for the final time, branch members headed for the lobby to cast their orange ballots for the nominees. The top three vote getters -- determined solely by the votes cast at the bakeoff -- will be announced as the nominees on Thursday along with the rest of the Oscar nominees. While predictions can never be made with 100% certainty, the reaction of the crowd would suggest The Curious Case of Benjamin Button, The Dark Knight and Iron Man are the leading contenders for the top three spots.

    Thomas J. McLean is a freelance journalist whose articles have appeared in Variety, Below the Line, Animation Magazine and Publishers Weekly. He writes a comic book blog for Variety.com called Bags and Boards, and is the author of Mutant Cinema: The X-Men Trilogy from Comics to Screen, forthcoming from Sequart.com Books.


    منبع::vfxworld


    پیروز باشید
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    هميشه خود باشيم نه كسي ديگر!
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    #1 ارسال شده در تاريخ 20th August 2009 در ساعت 16:11

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    Borna66_TAHA
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    سه فیلم برتر راه یافته به مرحله پایانی اسکار 2009 و نامزدهای اسکار....


    The three films up for visual effects Oscars in 2009 share one thing in common: an amped up attention to reality.



    Although two of the films nominated for Best Visual Effects Oscars star comic book heroes and one is a fantasy, all the filmmakers grounded their vision in reality, and the visual effects studios they hired followed that lead. Reality, according to the consensus of the three nominees we talked with, is the reason “Benjamin Button,” “Dark Knight,” and “Iron Man” climbed to the top of the heap this year.

    We asked three of the nominees who supervised CG visual effects for the films, Eric Barba of Digital Domain, Paul Franklin of Double Negative, and Ben Snow of Industrial Light & Magic, why they thought their peers singled out these films, and what trends the films might suggest for the future.

    This is the first Oscar nomination for Barba and Franklin, and the third for Snow (“Star Wars –Episode II: Attack of the Clones” and “Pearl Harbor”). In alphabetical order . . .


    BENJAMIN BUTTON
    For David Fincher’s film, Digital Domain created a digital actor. They modeled, animated, lit, rendered, tracked, and composited a CG version of an aged Brad Pitt using Brad Pitt’s performance as a basis for the animation.

    Benjamin has a digital head during every shot in the first 52 minutes of the film; 325 head replacements shots in all. Asylum created several watery environments. Lola “youthenized” Pitt and Cate Blanchett. Matte World Digital created establishing environments and changed existing locations to give the film the correct period details.



    Paul Franklin:
    “Creating a digital actor that is recognizable as its live action counterpart is a real breakthrough. I think the guys at Digital Domain made a major leap forward in terms of digital humans. It’s all the little things. Setting aside the difficulty of the facial animation and the rendering of the skin and eyes, it’s how they tracked the head onto the shoulders. If you get that wrong, it doesn’t matter how good the rest is. It’s hard, brutal work. Making people younger – the youthification of Cate Blanchett and Brad Pitt was also extremely impressive. And, the rest of the visual effects supporting the story, the environments, the time and place were well done. It was a coherent piece of filmmaking.”

    Ben Snow:
    “The creation of the digital version of the older Brad Pitt was impressive and it was a beautiful film. I think it’s important that the effects are a contributor to a good film. [The digital version] was a challenging thing, and what was great is that ‘Benjamin Button’ needed that effect. I can’t imagine all that aging being done with makeup. I think that single effect broke ground. It showed it could be done in a believable way. That doesn’t mean it will be any easier for the next person. It took a lot of artistry, care, and time at every level, from David Fincher to all the artists. They put a ton of work into it.”

    Eric Barba:
    “The visual effects community had a warm reception to the work, but our biggest challenge right now is that the average voter in the Academy might see our work as makeup work. ‘Benjamin Button’ is not an effects movie. It’s about how we helped Brad Pitt carry the character of Benjamin from end to end. If the digital character wasn’t human, the movie wouldn’t have succeeded. People say everyone can do it now, but my advice is ‘Don’t try this at home.’ There are so many little things that can go wrong and if anything is not perfect, you lose the illusion. Well, maybe if you have 150 of your closest friends and an incredible facility standing behind you, then yes, you can.”

    Paul Franklin:
    “You can say, ‘OK, I think I know how they did that,’ but it’s seamless. You really can’t tell when it stops being the digital head and starts being Brad Pitt in makeup, unless you know where to look.”

    So, we asked Franklin if he could tell when the switch happened. He answered, slowly, “I think when he leaves the house and goes off to join the crew of the tugboat.”

    He was almost right. When we told him the hand-off takes place later, on the tugboat, Franklin laughed, “OK, they had me fooled.”

    The Dark Knight

    Eric Barba:
    The visual effects crews did an amazing job of integrating miniatures and models into the film in a way we haven’t seen before. The digital work didn’t draw attention to itself. It was done to integrate and augment the story. And, I think what [Framestore] tried to push with the two-face character was well done. That was a difficult challenge, but everyone who watches it is amazed that they fit the tone and palette so well. It made that performance and character work.

    Ben Snow:
    Again, a really interesting story and superb filmmaking. I think the strength of the film was in the way they used a whole range of techniques very well to make compelling images. All the shots were very good, so in the service of such fine filmmaking the whole was very satisfying. I liked that they used a combination of miniatures, practical effects and digital effects. And, the digital effects crew did some lovely work in super high resolution. The award is not just whether you did something new – there have been fantastic innovations in films that otherwise weren’t worthy. The award should also look at artistic achievement. I think it’s fine to use existing techniques if you do it well.

    Paul Franklin:
    I hope that people will realize how we all used the effects to support the flow of the narrative. Because a lot of the effects were achieved in camera, people think everything is in camera. “Dark Knight” had long sequences in high resolution cinematography and we had to insert completely synthetic shots in the middle of an action sequence. The comparison with reality was brutal. We worked hand in hand with the live action crews who did the cutting-edge practical effects, but the helicopter crash, the scenes with the ferries on the water, and the Batmobile transformations are entirely digital. And, doing work at a minimum of 5.6K resolution required huge investments in new technology and equipment. At the end of the day, we’d like to think we’re there because the Academy recognizes skill and artistry.



    اين تصوير از اندازه واقعي خود کوچکتر نمايش داده مي شود. براي ديدن اين تصوير در اندازه واقعي اينجا را کليک کنيد. اندازه واقعي اين تصوير 820 در 484 پيکسل و حجم آن 344 کيلوبايت است.


    IRON MAN
    Director Jon Favreau convinced audiences that gazillionaire weapons manufacturer and playboy Tony Stark (Robert Downey, Jr.) could change from a bad boy into a superhero who could put on a homemade metal suit and fly. Visual effects supervised by John Nelson rocketed that idea into an Oscar nomination.

    Stan Winston Studio built Iron Man’s Mark I, II and III, and the top of Iron Monger’s suit with real metal. The Embassy created a digital version of the clunky Mark I. Industrial Light & Magic created the digital Mark II and III suits, fit Downey Jr. into his digital suit one part at a time, and made him fly.

    ILM also created a digital Iron Monger suit, built Stark’s clifftop mansion and his industrial complex. The Orphanage devised a state of the art heads up display, helped out with shots during a rescue sequence, and fired cluster missiles into a mountain.

    Eric Barba:
    “I remember watching this and thinking, ‘Wow. This is really great work.’ The effects work was designed and executed extremely well and it’s so much fun to watch. I think my favorite shot was [ILM’s] building of the Iron Man suit because of the design and complexity. That took a lot of thought and it was nicely done. There was so much attention to detail in this film to make everything so seamless. Amazing work.

    Paul Franklin:
    It was a fantastic action movie, a brilliant comic book adaptation, and the visual effects are integral to storytelling. The achievement is that they make it seem quite plausible that Robert Downey Jr. is able to suit up in this metal suit and fly around, that this man transforms into a man-machine and is capable of extraordinary things.

    You buy into it all even though if you analyzed it you’d know he’d be strawberry jam inside. It looks real the whole time. And, you can’t tell when he goes from the practical Stan Winston suit to the digital suit. The only time you know for sure that the suit must be digital is when he’s flying through the air.”

    Ben Snow:
    “Robert Downey Jr. was Tony Stark, but the suit was Iron Man. The visual effects were vital to the film. I think we broke new ground with the digital costuming; our metals were seamless enough that people didn’t know they were looking at a computer graphics creation. We had to stretch our technology to make the brushed metal surfaces believable so we could cut back and forth with the real costumes and have them side by side in the shots. We had to develop new tracking tools for the digital costuming. And we had to channel Robert Downey Jr.’s performance through the suit. I’m proud of ‘Iron Man.’ I think it added something to the superhero genre.”


    اين تصوير از اندازه واقعي خود کوچکتر نمايش داده مي شود. براي ديدن اين تصوير در اندازه واقعي اينجا را کليک کنيد. اندازه واقعي اين تصوير 820 در 439 پيکسل و حجم آن 320 کيلوبايت است.

    LOOKING FORWARD

    Paul Franklin:
    “The first thing that comes to mind when I think about all three films is that they had A-list directors engaging with the visual effects process. Visual effects have largely been in a genre ghetto of action and fantasy movies. ‘Iron Man’ and ‘Dark Knight’ are genre fantasy films, but they both have an immediacy and grittiness that pushes them into the mainstream.

    “There’s been kind of a backlash against digital effects because people think they go away from reality. But we didn’t see that with ‘Iron Man.’ It enhanced and extended reality. I think the in-camera motion capture they used, the iMocap process, will increasingly become a standard way of working; people will develop their own versions. And, in the case of ‘Dark Knight,’ the standard of visual reality we achieved will take other directors to places they previously thought they couldn’t go.

    “‘Benjamin Button’ sets a new standard for digital actors and opens the possibility for actors of any age to play actors of any other age. Hollywood has been looking for that for a long time. Maintaining the continuity of character through the underlying performance of Brad Pitt takes storytelling into a place that was impossible before. And, I think we’ll also see a lot more of making people younger in the future, although perhaps not for the right reasons.”

    Eric Barba:
    “I remember when I first saw a dinosaur walk. I was sitting with fellow CG artists and our jaws dropped. We were blown away. From that moment on, all of a sudden everyone in the business said, ‘We’ve seen it. It’s believable. We can make dinosaurs.’ That’s what happens when someone does something to a wow level. Everyone goes, ‘Well, we can do that.’ My team isn’t the only team doing digital humans. Several facilities are doing tests. We compare notes. Digital humans are around the corner.”

    “I think Batman [‘Dark Knight’] and ‘Iron Man’ are the best superhero movies we’ve seen to date. Before, I never felt the effects shots in superhero movies were seamlessly integrated. You go into these movies checking reality at the door, so when you see a man in a suit flying, you know he doesn’t exist and the CG shots would take you out of the moment. But, Iron Man and Batman were so well executed, you didn’t lose the sense that there’s a man inside the metal suit or that Batman is a guy being dragged down the street. Those films have taken the genre to the next level. The studios captured the actor’s essence. You felt for the person inside the costume. The weight of the animation makes it feel like that’s a guy in a suit. He still has superhero quality, but there’s a grounding in reality. I think that’s the trend to watch.”
    Ben Snow:
    “I feel that all of the films were going for realism and seamlessness. Certainly the face stuff for Benjamin Button. With the work on Batman [‘Dark Knight’] and ‘Iron Man,’ there was a reality there, too. I think there has been some complacency about pushing for reality all the time. But, I like reality-based stuff. I like the magic trick; I like to fool the audience and we’re getting better at it, at image-based capture, image-based lighting, motion capture. We’re getting better at capturing realism and turning that into tools, and at learning to use the good parts of those tools. And, as it gets easier to make the damn thing look real, as we learn to master these reality-based tools, we have more time to light beautifully, to spend the time that a director of photography can. We can go beyond making the surface look real. We can light it beautifully. We can spend more time on artistry. And, that will allow us to improve the art.



    پیروز باشید
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    هميشه خود باشيم نه كسي ديگر!
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    #2 ارسال شده در تاريخ 20th August 2009 در ساعت 16:12

  3. Borna66_TAHA آواتار ها
    Borna66_TAHA
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    انگاری تکرارش رو می ده DIMO جان. تا جایی که می دونم حدود 4 صبح برگزار شده بود.

    ..........




    نتایج اسكار 81م و اعلام برندگان نهایی:


    بهترین فیلم : BEST PICTURE
    “میلیونر زاغه‌نشین”

    بهترین کارگردان : BEST DIRECTOR
    دنی بویل، “میلیونر زاغه‌نشین”

    بهترین فیلمنامه غیراقتباسی : BEST ORIGINAL SCREENPLAY
    “میلک”، داستین لنس بلک

    بهترین فیلمنامه اقتباسی : BEST ADAPTED SCREENPLAY
    “میلیونر زاغه‌نشین”، سایمن بوفوی

    بهترین بازیگر مرد : BEST ACTOR
    شان پن، “میلک”

    بهترین بازیگر زن : BEST ACTRESS
    کیت وینسلت، “خواننده”

    بهترین بازیگر مرد مکمل : BEST SUPPORTING ACTOR
    هیث لجر، “شوالیه تاریکی”

    بهترین بازیگر زن مکمل : BEST SUPPORTING ACTRESS
    پنه‌لوپه کروز، “ویکی کریستینا بارسلونا”

    بهترین فیلم بلند انیمیشن : BEST ANIMATED FEATURE
    “وال - ای” (پیکسار,والت دیزنی)، اندرو استنن

    بهترین فیلم انیمیشن کوتاه : BEST ANIMATED SHORT
    La Maison en Petits Cubes، کانیو کاتو

    بهترین فیلم کوتاه زنده : BEST LIVE ACTION SHORT
    Toyland، یوکن الکساندر فریدانک

    بهترین طراحی هنری : BEST ART DIRECTION
    “مورد عجیب بنجامین باتن”، طراح هنری: دانلد گراهام برت، طراح صحنه: ویکتور جی. زالفو

    بهترین فیلم غیرانگلیسی‌زبان : BEST FOREIGN LANGUAGE FILM
    “خروجی” یوجیرو تاکیتا از ژاپن

    بهترین فیلمبرداری : BEST CINEMATOGRAPHY
    “میلیونر زاغه‌نشین”، آنتونی داد منتل

    بهترین جلوه‌های ویژه تصویری : BEST VISUAL EFFECTS
    “مورد عجیب بنجامین باتن”، اریک باربا، استیو پریگ، برت دالتن و کریگ بارون

    بهترین طراحی لباس : BEST COSTUME DESIGN
    “دوشس”، مایکل اُکانر

    بهترین مستند بلند : BEST DOCUMENTARY FEATURE
    “مرد روی سیم”، جیمز مارشال و سایمن چین

    بهترین مستند کوتاه : BEST DOCUMENTARY SHORT
    “لبخند بزن پینکی”، مگان میلان

    BEST EDITING برنده نهايي :
    “میلیونر زاغه‌نشین”، کریس دیکنز

    بهترین صداگذاری : BEST SOUND MIXING
    “میلیونر زاغه‌نشین”، ایان تاپ، ریچارد پرایک و رسول پوکوتی

    بهترین تدوین صدا : BEST SOUND EDITING
    “شوالیه تاریکی”، ریچارد کینگ

    بهترین موسیقی : BEST ORIGINAL SCORE
    “میلیونر زاغه‌نشین”، آ. آر. رحمان

    بهترین ترانه : BEST ORIGINAL SONG
    Jai Ho - “میلیونر زاغه‌نشین”، موسیقی از آ. آر. رحمان، شعر از گلزار

    بهترین چهره‌پردازی : BEST MAKEUP
    “مورد عجیب بنجامین باتن”، گرگ کانوم


    منبع: فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]




    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    هميشه خود باشيم نه كسي ديگر!
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    فقط کاربران ثبت نام شده میتوانند لینک های انجمن را مشاهده کنند. ]
    #3 ارسال شده در تاريخ 20th August 2009 در ساعت 16:18

موضوعات مشابه

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    آخرين نوشته: 23rd June 2009, 01:10
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    توسط YAMAHDI در انجمن آرشیو سینما و تئاتر
    پاسخ ها: 0
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    توسط UFC در انجمن آرشیو سینما و تئاتر
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